Sketches of Frank Gehry by Sydney Pollack Review
Mardi, mai 4th, 2010
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“Sketches of Frank Gehry” is director Sydney Pollack’s first foray into documentary filmmaking, a personal quest to understand the work of his longtime friend, the Western world’s most celebrated architect, Frank Gehry. Upon seeing Gehry’s most celebrated work, the Guggenheim Museum in Bilbao, Spain, at its opening in 1997, Pollack asked himself, “Where did this approach from? ” A interrogate in the minds of many who have been transfixed by the Bilbao’s metallic curves that rise organically from the Earth while they ironically train otherworldliness. Pollack approaches the film with a layman’s view of architecture and an intense desire to understand why and how Frank Gehry creates as he does. Gehry is at ease with his friend and speaks freely of his background, his career, and his ambition. Pollack was paralyzed about placing himself in the film, but his presence personalizes the employ and introduces a dialogue between these 2 men who both “try to accept personal expressiveness within disciplines that design stringent commercial demands”.
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The greatest insight into Gehry’s creative process and the evolution of his styles comes from Gehry himself. But clients, artists, writers, museum curators, Gehry’s construct partners, and his psychoanalyst Milton Wexler all contribute their perspectives on the man and his work. We gape some works in progress and briefly tour some of Gehry’s buildings: private residences, museums, and commercial buildings. The only Frank Gehry detractor who agreed to participate in the film is Hal Foster, Princeton University Professor of Art & Architecture. I would have liked to hear more dissenting belief -or more balanced opinion- since the praise of Gehry’s work becomes repetitive. Foster articulates only some of Gehry’s weaknesses. Frank Gehry works very well with light, and his best buildings have lines that are utterly symphonic. But he has persistent fine and practical shortcomings. In any case, “Sketches of Frank Gehry” is an bright, insightful documentary that gives an impression of transparency, to match Gehry’s buildings.
The DVD (Sony Pictures 2006) : There is a “Q&A with Sydney Pollack” (34 min) from the Los Angeles premiere of the film. Pollack discusses how he approached the subject of Frank Gehry’s work, being neither a documentarian or an architecture buff, but a layperson trying to understand the mind tedious the buildings. He talks about the process of making the film and his design to develop a documentary that relates in style to musty documentaries as Gehry’s architecture relates to dilapidated architecture. And he takes some questions from the audience. Subtitles for the film are available in French.
Ironically Sydney Pollack’s warm, shiny portrait of his longtime friend, architect Frank Gehry, is probably the best film he’s made in years. Casually recording Gehry at work and while driving, and outside the Walt Disney Concert Hall in Los Angeles while it is composed under construction, Pollack has made an intimate documentary of an architect who over the years has revolutionized how we sight buildings, steadily redefining our relationship between spot and light.
Buy,Download, Or Stream Sketches of Frank Gehry by Sydney Pollack! Click Here
From the outset it becomes delicate clear that Gehry has never let professional limitations pick up to him and he’s notoriously rejected mighty of the artistic conservatism of the past. Consequently, he’s created architectural designs that fair don’t conform to the normal, predictable rules of geometry.
Obviously whether you like his work is a matter of taste - I pick up a lot of his work rather frosty and unpleasant - but it is absolutely intelligent to seek his metamorphosis choose situation, from the do stage, where his ideas begin as doodles on paper and assemblages of cardboard and tape, to their transformation into models and then the finished product.
Of course the final test comes when they are molded into glass and titanium, and we finally salvage to spy the waste result of Gehry’s vision. At barely ninety minutes, Pollack seems intent to cram a lot into his film: We rep interviews with patrons, admirers and friends, including Bob Geldoff, the customary Disney executives Michael D. Eisner and Michael S. Ovitz the Guggenheim chief Thomas Krens and Herbert Muschamp, the musty architecture critic of The Current York Times.
Perhaps most though-provoking are the graphic shorts of Gehry’s most crowning achievements. Along with the Walt Disney Concert Hall, there’s the Disney Ice rink in Anaheim and of course, the Guggenheim Museum of Bilbao that towers majestically above the city.
Not all critics are favorable; Pollack also interviews Hal Foster, an art critic and Princeton professor, who is far more necessary of Mr. Gehry’s reputation, and of the kind of “cultural branding,” and the propensity towards architectural trendiness that his fame represents. But Gehry is always affable if not a slight bit crusty and is more than willing to listen and purchase heed of his potential detractors.
This movie, for the most allotment does a first-rate job of balancing exploration of his personality with admiration of his work. As expected, it’s Gehry who is probably the most frank and harshly candid observer of his work. And he even admits that it takes him at least a year to let go of a lot of his work once it is finished.
In the raze, what we gain is a bewitching portrait of a visual genius, a hardworking and refreshingly unpretentious man who has devoted his life to obtaining creative freedom through is work. Mike Leonard September 06.
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